The Music Of Central Asia Ebook 2

This beautiful and informative enhanced ebook—so comprehensive it had to be split into two volumes, ebook 1 and ebook 2—offers a detailed introduction to the musical heritage of Central Asia for readers and listeners worldwide. Music of Central Asia balances "insider" and "outsider" perspectives with contributions by 27 authors from 14 countries. This stunning electronic book allows readers the opportunity to deeply engage with source material through over 180 embedded audio and video, pop-up study questions, transliterations and translations of performed texts, and direct links to the companion website (www.musicofcentralasia.org). The audio and video examples include transliterations and translations of the performed texts and a follow-along feature highlights the song lyrics in the text, as the audio samples play. This generously illustrated book is supplemented with boxes and sidebars, musician profiles, and an illustrated glossary of musical instruments, making it an indispensable resource for both general readers and specialists. Ebook 1 includes part I, "Music and Culture in Central Asia," an introductory overview of the music and musical instruments of Central Asia, and part II, "The Nomadic World," which focuses on music and musical life in historically nomadic regions of Central Asia. Ebook 2 contains part III, "The World of Sedentary Dwellers," which focuses on music and musical life in historically settled regions of Central Asia, and part IV, "Central Asian Music in the Age of Globalization," which addresses "the future of the past," focusing on cultural revitalization and renewal, tradition-based popular music, and contemporary music inspired but not constrained by tradition.

The Music of Central Asia surveys the rich and diverse musical life of a region that was once at the center of the trans-Eurasian Silk Road trade and that has now reemerged as a crucial arena of global geopolitics. This beautiful and informative volume offers a resource for Central Asians to learn about the musical heritage of their region and a detailed introduction to this heritage for readers and listeners worldwide. The Music of Central Asia balances "insider" and "outsider" perspectives with contributions by 27 authors from 14 countries. A companion website provides access to some 175 audio and video examples, listening guides and study questions, and transliterations and translations of the performed texts. The generously illustrated text is supplemented with boxes and side bars, musician profiles, and an illustrated glossary of musical instruments. The Music of Central Asia targets a broad, non-specialist readership, while specialists will find it an indispensable resource. The book is divided into four parts: an overview of the region's music and musical instruments; sections on "The Nomadic World" and "The World of Sedentary-Dwellers," which explore music and musical life in the context of Central Asia's two great axes of civilization; and "Central Asia in the Age of Globalization," whose focus is the future of the past, or how musical heritage is being revitalized and reimagined in the contested cultural landscape of contemporary Central Asia. The Music of Central Asia can be read systematically to build comprehensive knowledge about interlinked topics—or used as a handy reference on specific musical styles, repertoires, and traditions. For instructors, the book's 35 chapters offer ample material for a semester-long course, while groups of chapters can serve as a module in courses devoted to broader topics in music, history, and culture.

This illuminating anthology provides a range of perspectives on daily life across Central Asia and how it has changed in the post-Soviet era. For its citizens, contemporary Central Asia is a land of great promise and peril. While the end of Soviet rule has opened new opportunities for social mobility and cultural expression, political and economic dynamics have also imposed severe hardships. In this lively volume, contributors from a variety of disciplines examine how ordinary Central Asians lead their lives and navigate shifting historical and political trends. Provocative stories of Turkmen nomads, Afghan villagers, Kazakh scientists, Kyrgyz border guards, a Tajik strongman, guardians of religious shrines in Uzbekistan, and other narratives illuminate important issues of gender, religion, power, culture, and wealth. A vibrant and dynamic world of life in urban neighborhoods and small villages, at weddings and celebrations, at classroom tables, and around dinner tables emerges from this introduction to a geopolitically strategic and culturally fascinating region.

A musical companion to "The Hundred Thousand Fools of God: Musical Travels in Central Asia (and Queens, New York) by Theodore Levin.

Focusing on Soviet culture and its social ramifications both during the Soviet period and in the post-Soviet era, this book addresses important themes associated with Sovietisation and socialisation in the Central Asian states of Kazakhstan, Kyrgyzstan, Tajikistan, Turkmenistan, and Uzbekistan. The book contains contributions from scholars in a variety of disciplines, and looks at topics that have been somewhat marginalised in contemporary studies of Central Asia, including education, anthropology, music, literature and poetry, film, history and state-identity construction, and social transformation. It examines how the Soviet legacy affected the development of the republics in Central Asia, and how it continues to affect the society, culture and polity of the region. Although each state in Central Asia has increasingly developed its own way, the book shows that the states have in varying degrees retained the influence of the Soviet past, or else are busily establishing new political identities in reaction to their Soviet legacy, and in doing so laying claim to, re-defining, and reinventing pre-Soviet and Soviet images and narratives. Throwing new light and presenting alternate points of view on the question of the Soviet legacy in the Soviet Central Asian successor states, the book is of interest to academics in the field of Russian and Central Asian Studies.

What is it about the history, geographical position and cultures of the Middle East, North Africa and Central Asia that has made music such a potent and powerful agent? This volume presents the first direct look at the complex relationship between music and power across a range of musical genres and countries. Discourses of power in the region centre on some of the most contested social issues, most notably in relation to nationhood, gender and religion. Individual chapters examine the ways in which music serves as a forum for playing out issues of power, ideology, resistance and subversion. How does music become a space for promoting - or conversely, resisting or subverting - particular ideologies or positions of authority? How does it accrue symbolic power in ways that are very particular, perhaps unique? And how does music become a site of social control or, alternatively, a vehicle for agency and empowerment, at times overt and at others highly subtle? What is it about music that facilitates, and sometimes disrupts, the exercise and flows of power? Who controls such flows, how and for what purposes? In asking such questions in the context of countries such as Afghanistan, Egypt, Iran, Tunisia and Tajikistan, the book draws on a wide range of relevant theoretical and critical ideas, and many disciplines including ethnomusicology, anthropology, sociology, politics, Middle Eastern studies, globalization studies, gender studies and cultural and media studies. The countries and areas explored share a great deal in historical and cultural terms, including a legacy of colonial and neo-colonial encounters and predominantly Judeo-Muslim religious traditions. It is hoped that the volume will contribute ultimately to a richer understanding of the role that music plays in these societies.

“For those who still get their ‘-stans’ mixed up, Hiro’s book provides a detailed and nuanced overview of the region.” —Financial Times (Best Books of the Year) The nations of Uzbekistan, Turkmenistan, Kazakhstan, Kyrgyzstan, Tajikistan, Turkey, and Iran—the majority of them former Soviet republics—remain little understood in the West even in the post-Cold War era. This book delves into these Central Asian countries: their histories, cultures, economics, politics, militaries, and relationships with regional neighbors, Russia in particular. Ultimately, Inside Central Asia is an outstanding, in-depth introduction to this part of the world, “full of dependable history-telling and analysis” (The Economist). Praise for the work of Dilip Hiro “The writing is clear and informative.” —The New York Times “Hiro’s mix of lively writing and serious detail should draw in readers.” —Choice “Intriguing analysis.” —Publishers Weekly “[An] eminent historian.” —Kirkus Reviews

This book discusses microtonal tunings in the Arabic maqam, prevalent in the Middle East and Central Asia, which employs microtonal intervals from Pythagorean tuning by perfect fifths. The ratio 3/2, as the fifth overtone in the overtone series, is used as a multiplier leading to numeric ratios for all pitches in the tetrachords and pentachords of the maqam. Musicians today are highly curious about expanding the pitch palette and are already employing microtones in their music, from folk rock to classical music. The maqam is among the few extant analyzed systems of music from antiquity that reflect the methods of the Greek Genera, in terms of tuning and function. The book also discusses Charles Ives's use of microtones, Bach and his use of microtones, and a score of Hypercube, the seminal composition discussed in the author’s first book, Polytempic Polymicrotonal Music, which was not published in its entirety in the former book. The text covers microtones philosophically, questioning the efficacy of such tunings. This book is accessible to the beginners in the field and will be beneficial to musical analyses in colleges and universities also by showing detailed analysis of Bach chorales in their original modes, and how their tuning presented complete character shifts by the microtones they contained by mean-tone temperament, an offshoot of Pythagorean tuning during the Baroque.